Wow, a whole symphony was written to go along with these violin excerpts!
@loveclassicalmusicalot
Жыл бұрын
One of Mozart's gems! Good to listen to.
@quillion3rdoption
Ай бұрын
Those violin parts in mvt 4 are crazy!
@Chelloboe75
Жыл бұрын
Beautiful version!! Thanks so much!!
@Fumozart
Жыл бұрын
Whenever I listen to orchestral works I tend to come to your channel since you use recordings with balanced orchestra. I like them because the brass is much louder than other recordings but they aren't that louder compared to the other sections. Keep up the good work my friend.
@MIL0S.
3 ай бұрын
I agree, i wanted to listen to recordings with orchestra on screen, but then i realised that this one is my favourite because of the brass, as you said.
@CostasCourtComposer
Жыл бұрын
Amazing Mozart!
@valentinbouanchaud3801
Жыл бұрын
Yes !! my favorite symphony of Mozart, the great Mozart !!!
@bornaerceg9984
Жыл бұрын
WOW! Thank you!
@brendanward2991
Жыл бұрын
My favourite!
@nocomment2468
11 ай бұрын
Very clean recording, but I find it awkward that the strings truncate so many of their longer notes, especially during suspensions and dissonances. It really detracts from the lyricism and intensity.
@dariocaporuscio8701
11 күн бұрын
Where for example? For what I have studied, in the epoch of Mozart the style asked to not sustain the note too much, but to do a sort of diminuendo from the start of the note. The idea of sustaining the long note and holding them was more of a romantic thing, but of course cutting the note earlier is not good either
@dariocaporuscio8701
11 күн бұрын
I add that at 2:48, if you look at the manuscript, the winds have written "tenuto" but the next bar the violins don't have written tenuto, it's a mistake of the editor. I think he saw a parallelism between the winds+viola and cellos and the violins so he added a tenuto to the violin the next bar, but the strings are actually melodic there while the winds are creating a color effect to the repeated 8th notes of the strings. So I see an implied crescendo/diminuendo in these two bars. In the chapter on articulation of music as speech Harnoncourt warns about how composers often write different articulation even in the same passages for different instruments because they want a very rich texture but editors tend to see it as a mistake and change it.
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